In a significant move aimed at bolstering the struggling South Korean film industry, lawmakers have proposed a new amendment that would enforce a mandatory six-month “holdback” window between a movie’s theatrical release and its availability on over-the-top (OTT) streaming platforms.
This legislation seeks to protect cinemas from losing audiences to early streaming debuts and to ensure the continued financial health of film production and theatrical exhibition.
The Decline in Theater Attendance
South Korea’s cinema industry has been grappling with declining audience numbers over the past several years, a trend exacerbated by the COVID-19 pandemic and the rapid rise of OTT services.
According to data cited by lawmakers, annual theater admissions are projected to drop below 100 million in 2025—roughly half of the pre-pandemic peak of 226.67 million admissions in 2019.
As of mid-September 2025, the year-to-date admissions were approximately 69.98 million, signaling a sharp downward trajectory.
This decline has raised alarm bells among filmmakers, distributors, and cinema operators, who argue that quick OTT releases undermine the traditional film release window, reducing box office revenue and jeopardizing the economic model that funds future movie productions.
The Proposed Amendment: A Six-Month Holdback Window
On September 12, 2025 (KST), Im O-kyeong of the Democratic Party formally filed an amendment to the Act on the Promotion of Motion Pictures and Video Products.
The amendment mandates that films must remain exclusive to theaters for a minimum of six months before being made available on OTT platforms.
The proposal aims to legally codify a theatrical exclusivity period—often called a “holdback” window—that many in the industry view as essential to preserving the viability of cinemas.
The new law would close the current gap where streaming services sometimes acquire film rights shortly after or even during theatrical runs, a practice critics say has eroded the box office’s primary revenue source.
Im O-kyeong’s office highlighted the impact of aggressive OTT acquisitions during the pandemic, stating that global streaming giants, backed by immense capital, have prioritized immediate online availability over traditional theatrical runs.
This, they argue, has “worsened production conditions” by disrupting the reinvestment cycle that relies on box office profits.
The law intends to promote a healthier ecosystem where films complete their cinematic life before transitioning to digital formats, ensuring “mutually beneficial growth across the industry.”
Protecting the Production Pipeline
The economic logic behind the holdback is straightforward: theatrical releases generate significant revenue, a portion of which funds new productions.
When films quickly move to OTT, cinemas lose ticket sales, which reduces the income that producers and studios can reinvest in new movies.
Before the pandemic, many films enjoyed theatrical exclusivity windows of up to 90 days or more.
However, the rapid pivot to streaming during lockdowns shortened these windows dramatically, with some films becoming available on OTT platforms within two to three months of their cinema debut.
Supporters of the amendment argue that returning to a six-month window is necessary to rebuild a sustainable theatrical market, which in turn supports a robust film production pipeline.
International Comparisons
South Korea is not alone in grappling with how to balance theatrical and streaming releases. Internationally, release window policies vary widely:
France is known for its stringent release window laws, historically requiring a 36-month gap before films could appear on streaming platforms.
However, recent reforms have shortened this to approximately 15 months for platforms investing significantly in local film production.
France has managed to maintain relatively stable cinema attendance compared to other markets.
The United Kingdom primarily relies on industry agreements rather than hard laws to regulate release windows, resulting in more flexible but less consistent practices.
North America (U.S. and Canada) also has no federal law enforcing release windows; decisions are mostly made through negotiations between studios and distributors.
The result is a post-pandemic attendance recovery that remains below pre-pandemic levels, indicating release windows are only one factor among many affecting cinema attendance.
South Korea’s approach to legislate a six-month holdback reflects a more interventionist stance intended to preserve its unique film ecosystem.
Funding Challenges and OTT Contributions
Another critical policy issue intertwined with the holdback debate involves the Film Development Fund in South Korea, financed by a 3% levy on movie ticket sales.
This fund supports film production, marketing, and distribution efforts.
OTT platforms, however, currently do not contribute to this levy because movies released online are not classified legally as theatrical “films.”
This discrepancy has drawn criticism from cultural policymakers, including Choi Hwi-young, Minister of Culture, Sports, and Tourism, who remarked,
“It defies common sense that a movie shown on an OTT service is not legally considered a film.”
Reforming how OTT releases are categorized and funded remains an open question, with potential future policy changes aimed at ensuring streaming platforms contribute fairly to the industry’s sustainability.
Consumer Perspective and Potential Pushback
From the consumer’s viewpoint, the proposed holdback may be met with mixed reactions.
OTT services provide affordable, convenient, and expansive libraries for a flat monthly fee, making them an attractive alternative to theaters, which often charge the equivalent of two or more OTT subscriptions for a single movie outing.
Extending the wait for streaming availability to six months—longer than the current norm of one to three months—could frustrate viewers accustomed to quick access and lead to debates about consumer choice and access.
However, supporters argue that a stronger theatrical market ultimately benefits consumers by fostering more diverse and higher-quality film productions.
Looking Ahead
South Korea’s move to legislate a six-month OTT holdback window is a landmark step in navigating the evolving media landscape.
It reflects the government’s commitment to preserving the cinema-going experience and sustaining a vibrant domestic film industry in the face of disruptive streaming trends.
As the bill progresses through legislative channels, it will be closely watched by filmmakers, distributors, cinema owners, streaming services, and audiences alike.
Balancing industry health, creative investment, and consumer preferences remains a complex challenge, but this measure aims to safeguard the future of South Korean cinema for years to come.
